Moog Matriarch

Page 67 of the Matriarch manual says it supports, “Single-Note Tuning (retunes notes individually).” I just need to verify 100% that this means it accepts sysexes that look like this:

F0 7F <device ID> 08 02 tt ll [kk xx yy zz] F7

My point is, you can control the synth via CV, why try to mess with Sysex in real-time for Single Note Tuning, when it’s clearly not the best tool for it?

I’ll try to test today.
Beware, the Matriarch is buggy and what’s documented in the manual is not always true.


All about modular is new
Never heard about attenuators before
I do understand the words, but decided to take time to slowly understand
Also, I will order moog modular book, to learn.
Learning a synth is not the same as reading the manual.
For me the moog is a big step.
Ah yeah, and the paraphonic thing feels weird for me to play

Have a look also at Gordon Reid’s synthesis series on SOS. It’s an excellent in depths series of articles about synthesis engines and their building blocks.


That’s a lot of information
Thank you, I will start this weekend

1 Like

Also CDM has some great tips on the Matriarch building blocks, link is somewhere higher in this thread. Helps me a lot to understand the 900 series specialties, like the gain staging part everywhere.

1 Like

Matriarch’s full implementation of MTS makes it the best tool for full-spectrum microtonality with a MIDI sequencer. I realize I can make extensive use of it with my 3 cases of modular, but the dealmaker for me, once I’ve verified it, is that it is the only analog synth or synth with a keyboard that implements the entire MIDI tuning standard.

1 Like

Another example of abracadabra for me :slight_smile:

1 Like

Same! :slight_smile:

Would be awesome to hear some of your stuff, though, @blipson!


There’s plenty of quality microtonal out there, but I’d really like to hear how that sounds with a Moog. Maybe I can get some all-Kyra demos out in the next few weeks with the sequencer I’ve been working on, which is coincidentally named “the blipquencer.”


On a very basic level I understand the concept of microtonality and I think it’s interesting to think that music can also live between the notes / frequencies we’ve become conditioned to. For me, in orchestral (string) music, some of the most evocative moments are the ones when two or more instruments or players are almost interlocked to an interval but can’t quite reach it - perhaps aren’t even meant to. Kinda makes it sound “perfectly imperfect”.

Don’t know if it’s an example of “quality microtonal” electronic music but I’m just listening to a DnB artist called Sevish (one of the first hits with those keywords on Youtube). The vibe is a bit different due to the concept of “being in tune” being more free. Have to say this still sounds very conservative in almost any other respect. Not bad but a bit meh to my ears. Some nice moments tho, also due to the microtonality. Maybe this is mainstream microtonal. :smiley:

Sorry about being a bit off-topic. (Still love the Matriarch.) :blush:

1 Like

The attenuator on the Matriarch is quite simple. All it does is lower or raise the voltage of whatever signal you patch through it.

Matriarch has 3 of them.

1 Like

This free microtonal tool was announced on CDM recently. Here is the thread for it.

Yes, I’d have recommended Sevish and maybe Zadarpadov at bandcamp. In a way, as you point out, they’re not terribly unusual aside from the way they work tonality. Depending on what people will accept, maybe that puts them on the more listenable side of microtonality. There’s another idea that the ways we handle beats (binary clock divisions, plus dividing by 3) are themselves “tonal rhythms,” microtonality calling for different conceptions of rhythm. That’s been around a long time, too, but also not much accepted. Maybe a Matriarch’s inherently lovely sound can keep the rest of the weirdness engaging.

1 Like

Interesting. The Dave Smith synths don´t have it either?

Actually, the M has not simple attenuator, but attenuverter which can additionally invert the incoming voltage signal.
Nice explanation here:

Fun fact about the “mults”: they are normalized, means they can be used to mix both, audio and control voltage signals, without destroying any components by summing up too much voltage…

Browsing for MTS i came across this: Micro-pitch Device Tutorial | Bitwig

Yeah, I tried to say that. When I said “lower the voltage” I meant the knob can lower it so much that it goes negative. Conversely if the input signal was already negative you can make it positive. :upside_down_face:

But I’m sure your language is more correct and succinct in this instance.

Wait, let me try something…


A picture says more than words…
Copyright to someone on muffwiggler.


Unfortunately, no. I have that directly from Sequential.